00:00And I will say that I wrote the film specifically for Franz before he knew me.
00:05Franz, was this the first time that you've had the experience of someone writing something with you in mind?
00:11I know, it happens all the time.
00:18You know, I actually think all my movies could be called Passages.
00:21Like, I think it's a title that works.
00:22But I think particularly with these three characters and the story,
00:26it's really a film about people at a certain moment in their life when everything might and could change.
00:33And I think we're all at that moment now.
00:35So the film is very much about the immediate now.
00:38I think in a way I try to construct films in which every scene is some sort of middle,
00:44some sort of between.
00:46And there's a lot of hallways in this movie.
00:49There's a lot of places where people are moving from one thing to the next.
00:54And it's that messy middle, which is the story of the film.
00:57Personally, I felt like I really understand emotionally this kind of landscape or this
01:04feeling place in my life.
01:07Yeah, like kind of reaching a certain age and a certain point of life as I really spoke to me very much.
01:16I'm also not going to explain why, but it spoke to me.
01:20Yeah.
01:21Yeah.
01:22Me, it's more the fact that she's someone lucid, lucidity, it's a, it works in English.
01:28Yeah.
01:28Yeah.
01:29But she still goes for it.
01:30Like, even if she know it's going to be dangerous, like she already know not the end,
01:35because you have hope and hope can change your way of living the stuff.
01:39But like, this is similar to me since I'm born.
01:44The fact that, you know, it must be like complicated, but you still, you don't need
01:50people to warn you, but you still will go for it.
01:52You introduced us in a cafe and then left us there.
01:58Oh, yes.
01:59That was something you did do.
02:00Yes.
02:01Yeah.
02:01Yeah.
02:02A little bit.
02:03We had not met and we were in Paris and you came to have a coffee and then I was like, okay,
02:09I'm going to leave you.
02:10I'll leave you to it, have a chat, which was great, actually.
02:13It was great.
02:14Yeah.
02:14And then we had a, I don't know, you had, you were having some cigarettes out of a window.
02:19I remember the thing.
02:20We got to know each other a bit.
02:22In a window with a cigarette and your deep voice,
02:26what you want, because she has a very loud and deep, very impressive voice.
02:29A male voice.
02:30I was intimidated.
02:31I didn't know, didn't know what to say.
02:34But yeah, I think it sounds so cliche, but it's true.
02:38We had a good time together.
02:39Yeah, very.
02:40Yeah.
02:40And I think for me that, that leaving them together is really part of, it is a strategy
02:45to the extent that I really don't want to be part of the dialogue.
02:49So that's why we also, we don't rehearse as a group or because I don't want to be the third
02:55in a relationship that's actually about two people.
02:57When I saw the movie first time, there were a lot of surprises for me, like scenes that
03:03used to be long, being very short.
03:05And also just the editing, combining sometimes rather textures or rhythms with one another.
03:14And that really added another layer.
03:17And even though it's a movie about love and relationships and pain and human struggle,
03:24at the end of the day, it's also an Ira Sachs movie.
03:29That is a lot about author cinema and the language of storytelling.
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